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A Bharatanatyam arangetram is a solo debut performance that signifies the completion of initial formal training of a young dancer, female or male in Indian classical dance. The term Arangetram translates to "ascending the stage".
Arangetram in Tamil and Malayalam, known as "Rangapravesha" in Kannada and "Rangapravesham" in Telugu is the debut on-stage performance of a former student of Indian classical dance and music that follows years of training in classical music and dancing. Many Indian classical dance forms require their followers to perform an arangetram.
Rukmini Devi Arundale (née Sastri; 29 February 1904 – 24 February 1986) [1] was an Indian theosophist, dancer and choreographer of the Indian classical dance form of Bharatanatyam, and an activist for animal welfare. She was the first woman in Indian history to be nominated as a member of the Rajya Sabha, the upper house of the Parliament of ...
Bharatanatyam is a major genre of classical dance that originated in the state. There are a lot of folk dance forms that are practised in the region, some of which trace their origins to the Sangam period (3rd century BCE). Koothu was a popular theater art from which combined dance with drama.
Arangetram may refer to: Arangetram (dance), the debut performance in Indian classical dance and music; Arangetram, a 1973 Indian Tamil-language film; ...
In Bharatanatyam, the classical dance of India performed by Lord Nataraja, approximately 51 root mudras (hand or finger gestures) are used to clearly communicate specific ideas, events, actions, or creatures in which 28 require only one hand, and are classified as `Asamyuta Hasta', along with 23 other primary mudras which require both hands and are classified as 'Samyuta Hasta'; these 51 are ...
Hema Rajagopalan performed her first arangetram after just six months of training, and was then hailed a child prodigy in the art of bharatanatyam. Later on in her career, she also studied bharatanatyam under Padmasri K.N. Dandayudapani Pillai and his brothers K.N. Pakkiriswami Pillai and K.N. Dakshinamoorthy Pillai.
"Parshwanath Upadhye needs to bring more gravitas into his Bharatanatyam abhinaya, than the present superficial mime narratives that seem to be his choice. More like theatre, he keeps spinning narratives which lack in-depth treatment, as seen in Baro Krishnaiyyaa and the other composition devoted to Goddess Chamudeswari, where the over spun ...